Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

Ossario is the name of this reverse graffiti intervention by Alexandre Orion. It is through a process of subtraction, scraping off layers of soot from vehicle exhaust built up on tunnel walls to produce over 300 meters of images with more than 3500 human skulls. Here is Orion during the process of Ossario intervention.

See more HERE

For those who, by any chance, are asking what kind of a setting is this, I will answer: none at all! Those paintings are on the walls of the streets of Sao Paulo. They were thought to be installed where we see them now, inside the photographic frame. Conceived to threat, with its load of fiction and its representacional imperfections, the credibility that photography, in general, suggests. I would dare to say that these photographs compose not only a photographical essay, an artistic one, but they are first a register, almost a photojournalist one, of the link or the duel between languages. The endless duel (or link) between photography and painting, that in the information era, makes us think of how fragiles images are. See more HERE

For those who, by any chance, are asking what kind of a setting is this, I will answer: none at all! Those paintings are on the walls of the streets of Sao Paulo. They were thought to be installed where we see them now, inside the photographic frame. Conceived to threat, with its load of fiction and its representacional imperfections, the credibility that photography, in general, suggests. I would dare to say that these photographs compose not only a photographical essay, an artistic one, but they are first a register, almost a photojournalist one, of the link or the duel between languages. The endless duel (or link) between photography and painting, that in the information era, makes us think of how fragiles images are. See more HERE

For those who, by any chance, are asking what kind of a setting is this, I will answer: none at all! Those paintings are on the walls of the streets of Sao Paulo. They were thought to be installed where we see them now, inside the photographic frame. Conceived to threat, with its load of fiction and its representacional imperfections, the credibility that photography, in general, suggests. I would dare to say that these photographs compose not only a photographical essay, an artistic one, but they are first a register, almost a photojournalist one, of the link or the duel between languages. The endless duel (or link) between photography and painting, that in the information era, makes us think of how fragiles images are. See more HERE